A review of Tori Amos' "Unrepentant Geraldines"

I have a tendency to judge Tori Amos' albums more harshly than other artists whose work I enjoy. It's because she has made some of the most important and powerful music I've ever heard and I know what she is capable of. So, when she puts out something that doesn't grab me, for whatever reason, I'm not disappointed, I'm frustrated and then hopeful that her next release will be the one to bring it back, to sink its teeth into me.

When Tori said she was getting back to her non-orchestral roots for her new album, I will freely admit I was worried that would mean a return to the adult contemporary feel that's haunted her music since the early 2000's.
Very happy to report that is not the case.

This is going to sound like the cheesiest, most hackneyed phrase ever used in a review for anything but, here it is: Unrepentant Geraldines is full of surprises.

Ugh, I hate myself for saying that, but it is absolutely earned. Songs will set a tone and then take a pleasantly unexpected turn; tracks like "America", whose mischievous guitars and delicate handclaps work very well and start things off nicely suddenly get switched with a momentary rousing sing along, and "Trouble's Lament", the first single from the album, who presents herself* as a dusty tale of "our girl, Trouble" then breaks out her Tex-Mex dancing boots. 

Other songs are surprises in and of themselves, such as "Giant's Rolling Pin", which sounds so damn cute with the ukulele, euphonium and cow bell that I actually want to cuddle this song, "16 Shades of Blue", which is such a standout with her subtle electronics, hidden nuances and minimal piano (why can I hear David Bowie covering this?), and the title track, part languid funk, part pseudo-surf rock and part dark, stormy piano suite, that last featuring one of the strongest and most simple lyrics I've heard Tori sing in years, "I'm going to heal myself from your religion". 

There's even some classic, Tori-and-her-piano tracks for purists, such as "Weatherman", "Selkie", "Invisible Boy" and the beautiful and brutally honest "Oysters".

Other standouts include the epic and mythic "Wedding Day", the fairy tale dream of "Maids of Elfen-mere", "Promise", the mother / daughter duet that's probably going to make more than a handful of people weepy, and "Rose Dover", which harkens back to from the choirgirl hotel and Boys For Pele while, at the same time, being her own girl.

Another tired, used up phrase that I hate is "return to form", but Unrepentant Geraldines is, in part, just that, and I'm relieved to use it now.

I've never really had a crush on Tori Amos; I have too much respect for her, if that makes any kind of sense, but I have always admired her and her beautiful creations. Even when she did the adult contemporary thing, I always held out hope. This is the third really strong Tori album** in a row, and it's with cautious optimism and a trembling, grateful heart that I declare her slump...over.

One thing that's remained unchanged since Little Earthquakes though, some I'll never worry about, is Tori's voice. It's still as clear and perfect as ever, and I'll never think differently.

* Since Tori refers to her songs as "girls" and awards them feminine pronouns and this is her album, I will do the same.

** Yes, I'm counting Gold Dust.